Edited by: Kavya Mittal
“You don’t think I would have preferred to grow up out of the spotlight? Led a simpler life, a happier life, as a wife and mother?” Queen Elizabeth II asks her Uncle David (former King Edward VIII), in her signature politely affirmative tone. This line could potentially be touted as the crux of Netflix’s lavish production — ‘The Crown.’ The scene showcases a certain longing for what life could have been for the central character, Elizabeth Windsor. If only her Uncle had not abdicated the throne, inevitably forcing her father, a reluctant George VI to take up kingly duties, thus making Elizabeth the natural successor.
Season 1 of ‘The Crown’ does not merely busy itself in portraying the political and historical journey of Britain and the Royal family, it gives credence to their internal struggles, placing Queen Elizabeth’s conflict centrally — between privacy and publicity, and between womanhood and queendom. Created by Peter Morgan, who penned the screenplay for the Oscar-nominated film ‘The Queen’ and the stage play ‘The Audience,’ the show is an extension of the latter, which explored conversations between Winston Churchill and the Queen.
The Crown does an ethereal job of recreating Westminster Abbey, and their ‘humble’ abode — the Buckingham Palace. Locations like Lancaster House and Wrotham Park in London were used to create the sets. From the Queen’s crown to the Queen’s rebellious sister, Princess Margaret’s elegantly flamboyant gowns, every jewel studding each costume reflects tireless precision. The haunting and palpable background score is composed by Hans Zimmer.
The first season covers events from 1947, before King George’s death, to 1955, when Winston Churchill resigns. The show is tailor-made for an almost voyeuristic global public interested in knowing the intricate life details of Britain’s longest-reigning monarch. It cleverly uses the opportunity to show her and her family’s struggles under a more humane lens. Elizabeth’s realisation that aged 25, her life has changed extraordinarily and irreversibly; where she can no longer have the freedom to just be a daughter and doting wife and mother — roles she thoroughly enjoyed, makes one sympathise.
The most splendid bits of the show are when Elizabeth holds her own while discussing matters of national interest with Churchill. But another scene that introduces the audience to a more vulnerable side of the queen is when she lets the chink in her armour finally show, and invites a tutor to make her aware of subjects she was never taught as a Princess, the lack of which makes her feel inadequate.
Claire Foy (Queen Elizabeth) delivers a phenomenal performance. With just a glint in her eyes, she expresses what lines of dialogue could never. She holds herself with regal grace. There’s fear, reluctance, helplessness, and then in a flash, extraordinary courage on Foy’s face. Matt Smith (Prince Philip) supports Foy masterfully. Playing a brattish Prince Philip who is heavily discontented at having to give up his career as a naval officer. He must devote his life only to supporting the Queen, very literally being second in command. A brilliant portrayal of a man forced to gulp down his pride and take the back seat as a husband. John Lithgow as Churchill is stupendous. Playing the legendary ‘Father of the Nation,’ grappling with acceptance of age and the impending end of his tenure. Lithgow’s stature, voice and every expression scream Winston Churchill.
The Crown has fictional dialogue and takes creative liberties in the depiction of history as well but episode 4 entitled ‘Act of God’ also accurately depicts the frenzy and aftermath of the Great Smog of London, 1952. It is resplendent in its design but restrained in showing the characters’ nuances. One looks away from the glitz and maybe for once, very literally, is convinced that the head that wears the crown is truly heavy; because their greatest religion lies in the statement — “The crown must win, must always win.”